This update focus­es on usabil­i­ty, with some fea­ture addi­tions and of course new pre­sets. Many user requests that accu­mu­lat­ed over time have been imple­ment­ed, and the devel­op­ment seems to go in both direc­tions simul­ta­ne­ous­ly: On the one side is the exper­i­men­tal crowd who wants even more crazy things, and on the oth­er side is the pro­fes­sion­al crowd who wants pre­sets mod­eled after famil­iar hard­ware and usabil­i­ty. I am hap­py to be able to serve both! Check out the release notes for the full details!

Here is an update with small, but sig­nif­i­cant fea­ture addi­tions to the sound engine. There is now an ‘Algo­rithm’ page on the UI to con­fig­ure the basic lay­out of the feed­back net­work, togeth­er with a schemat­ic. There are also 23 new pre­sets. See the details in the release notes!

Today I played around with run­ning dif­fer­ent sounds through AriesVerb (as I often do). I was sur­prised how strong the mod­u­la­tion already is in the default pro­gram “Tem­ple of the Ances­tors”. I played a—cough—free inter­pre­ta­tion of the Pas­toral sonata through AriesVerb.

Anoth­er notable sound I found func­tions like a tor­ture test for algo­rith­mic reverbs. It’s a machine gun! This sound can expose many a weak­ness, and make reverbs fail that sound flaw­less oth­er­wise. I designed a for­est-like envi­ron­ment for exact­ly this to sound good. This pre­set will be avail­able in the next update, as it makes use of some new algo­rith­mic fea­tures.